Cleveland Art : The Cleveland Museum of Art Members Magazine. Vol. 47 no. 08, October

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From the Director

Half a million art fans can’t be wrong: come see Cleveland’s
Impressionist and Modern masterworks

Dear Members,

After visiting several Asian capital cities—Beying, Tokyo, and
Seoul—and, most recently, Vancouver, the CMA’s widely
admired collection of Impressionist and modern European art
returns to Cleveland this fall before traveling again to two other
venues in this country. When its tour is completed, this exhibi-
tion will have been seen by nearly one million people.

Clevelanders and those in the know in the art world have long
appreciated the scope and quality of the CMA’s holdings, but
our collection is not as well known as it should be. Therefore,
it has been enormously satisfying to see its enthusiastic recep-
tion in other parts of the world. It is also important to appreci-
ate that what we enjoy every day and perhaps sometimes take
for granted—the collection and resources of this remarkable
institution—is valued so greatly elsewhere and recognized as
something that makes our community distinctive. Indeed, what
people in Seoul or Vancouver consider a once-in-a-lifetime op-
portunity has been part of daily life in Cleveland for decades,
and will be once again as our renovated and expanded museum
galleries begin to reopen in the coming year.

The exhibition includes iconic works by Monet, Degas,
Renoir, Cézanne, Van Gogh, Gauguin, Matisse, Picasso, and
Rodin, and traces the development of modern European art
from Impressionism through the middle of the 20th century.
Added to the exhibition in Cleveland only are great works on
paper by Degas, Redon, Toulouse-Lautrec, and others. Follow-
ing this “homecoming,” the works continue their world tour for
another six months before returning for installation in their new
galleries in the expanded museum. A fine array of related lec-
tures, gallery talks, classes, and family events helps visitors learn
more about these magnificent artists and their work.

As I announced last month, the opening reception for the
show will be free, and will be preceded by a State of the
Museum presentation in which I will briefly recap the past year,
preview the coming year, and offer a whirlwind virtual tour of
the first phase of new and renovated galleries that will open
between now and next fall. I hope to see you here.

Sincerely,

Dy

Timothy Ru
Director

October 2007 2

What’s Happening

Members Opening for Modern
Masters and State of the Museum
The members opening for
Modern Masters on Friday, October
19 starts with a 30-minute “State of
the Museum” presentation by the
director. After that, enjoy the Modern
Masters exhibition, with an orienta-
tion talk by curator William Robinson.
Tickets are free. Cash bar. Pick up a
free limited-edition CMA World Tour
Poster Sunday the 21st only (while
supplies last).

Parking Garage Opens This Month
The museum garage opens October
19. Until then, additional parking is
available nearby in University Circle.
Fees apply at all locations. On-street
metered parking is also available, and
much of it is free after 6:00 p.m.

VIVA! & Gala Around Town
The first events in this season’s
special mini-series focused on
Central Asia and the Near East open
this month. See page 16 for more
information. Subscriptions and tick-
ets are on sale now. Concerts sell out,
so order early! Visit clevelandart.org/
viva for the most up-to-date info.

Member Shopping Days
November 16—18. Mark your calen-
dars for the semi-annual Member
Shopping Days. Use your special 25%
members-only discount on our great
selection of unique gifts, including
wonderful art books, lovely jewelry,
and unusual note cards. No discount
on already reduced items. See a store
representative for details.

Cleveland Art: The Cleveland
Museum of Art Members Magazine
(ISSN 1554-2254)

Vol. 47 no. 8, October 2007
Published monthly except June and
August by the Cleveland Museum
of Art at Cleveland, Ohio 44106.

POSTMASTER: Send address changes
to Cleveland Art: The Cleveland
Museum of Art Members Magazine at
the Cleveland Museum of Art,
Cleveland, Ohio 4.4106. Subscription
included in membership fee. Periodi-
cals postage paid at Cleveland, Ohio.

www.clevelandart.org

William Robinson, Curator of
Modern European Art

World Tour Comes to Cleveland

The acclaimed touring exhibition of works from Cleveland's
Impressionist and Modern collection returns home

EXHIBITION

October 21, 2007—January 13,
2008. Impressionist and
Modern Masters from the
Cleveland Museum of Art

This exhibition has been organized from the
collection of the Cleveland Museum of Art. The
presenting sponsor is Hahn Loeser + Parks LLP.
Admission is free due to the generosity of Hahn
Loeser + Parks LLP. Additional support has been
provided by Key Bank. Underwriting for the World
Tour of Modern Masters was provided in part by
The Timken Company, a CMA Global Partner. The
Ohio Arts Council helped fund this exhibition
with state tax dollars to encourage economic
growth, educational excellence, and cultural
enrichment for all Ohioans. Promotional support
provided by 90.3 WCPN, 89.7 WKSU, and the Akron
Beacon Journal.

Hahn Loeser e Parks : |

These are really extraordinary works of art... . The chance of
having this number of objects brought together in one place and
one time is probably not going to happen again while anyone alive
is alive... . It is quite genuinely a once-in-a-lifetime opportunity.
—Ian Thom, Senior Curator, The Vancouver Art Gallery

Ian Thom’s reaction to Modern Masters from the Cleveland
Museum of Art, as recorded in the Vancouver Sun, is typical

of the enthusiastic response the exhibition has received on its
extended tour abroad. Although the museum routinely loans
individual works to special exhibitions, it has never before sent
the modern collection as a unified group on tour. The idea be-
came feasible only when the museum’s current renovation and
expansion project required taking the works temporarily off
view. Rather than allowing the art to languish in storage, the
museum seized the opportunity to share its treasures with the
world by organizing a series of thematic traveling exhibitions,
several of which have already appeared in Asia, Canada, New
York, and Munich. Future travel destinations in the United
States include Los Angeles, Detroit, Nashville, and Salt Lake
City, as well as multiple venues in Cleveland and the surround-
ing area.

| 3

CMA Director Timothy Rub (fourth
from left) and Board of Trustees
Chairman Jim Bartlett (fourth from
right) were among the participants
in the ribbon-cutting ceremony that
opened the Beijing showing.

www.clevelandart.org

Crowds gather outside the Seoul
Arts Center to get tickets to see the
exhibition.

Paul Gauguin (French, 1848-1903).
The Call, 1902. Oil on fabric. Gift of
the Hanna Fund 1943.392

October 2007

Modern Masters began its international tour in May 2006
with an elaborate opening ceremony at the Beijing World Art
Museum in Beijing, China. In an auditorium packed with
flowers, TV cameras, and newspaper reporters, a row of young
women wearing traditional red dresses balanced a single, long
red ribbon supported on silk pillows, while museum and gov-
ernment officials from the United States and China simultane-
ously cut the ribbon with scissors. Seconds later, a shower of
confetti came streaming down from the ceiling. Local officials
described the exhibition as the most important display of mod-
ern art ever held in China, a country where many people had
never seen a painting by Modigliani or Picasso in person.

After opening to enthusiastic critical and popular acclaim in
Beijing, the exhibition traveled to Tokyo, Seoul, and Vancou-
ver—cities located around the Pacific Rim, one of the world’s
most dynamic centers of expanding economic markets and
multicultural exchange. More than 500,000
people attended the exhibition in Asia, and
nearly 200,000 are expected in Canada. By de-
sign, the exhibition does more than introduce
the museum’s collections to new audiences. The
artworks are accompanied by publications and
gallery texts describing the city of Cleveland
and the museum’s expansion project, turning
the exhibition into a roving ambassador that
will open possibilities for future exchanges,
both economic and cultural.

This fall the exhibition, retitled Impression-
ist and Modern Masters from the Cleveland Museum of Art to
reflect the addition of many Impressionist works on paper for
this showing only, makes a special stop on its world tour when
it appears at the Cleveland Museum of Art from October 21
to January 13. Afterwards, the exhibition resumes its tour by

Odilon Redon (French, 1840-1916).
Orpheus, c. 1903-10. Pastel. Gift from
J. H. Wade 1926.25

visiting three other U.S. cities. The works will not return home
again until the fall of 2008, when they will be reinstalled in the
museum’s new east wing. By that time, the collection will have
appeared in eight cities, traveled over 19,000 miles, and been
seen by more than one million people.

The exhibition’s three-month stopover in Cleveland provides
our community with the opportunity to become reacquainted
with many of their favorite works of art. There will also be some
surprises: the selection has been expanded in Cleveland through
the addition of paintings and pastels judged too fragile to travel,
as well as light-sensitive works on paper not normally on display.
This means Cleveland will enjoy the largest display on the entire
tour, including remarkable paintings, sculptures, pastels, and
prints appearing at this venue only. Of particular note is a group
of stunning pastels and works on paper by Edgar Degas, Odilon
Redon, and Henri de Toulouse-Lautrec, artists unsurpassed in
their respective media. More familiar works by Auguste Rodin
and Vincent van Gogh may appear completely different to visi-
tors as a result of their presentation in new contexts. Collectively,
the exhibition features 143 works by the most important Eu-
ropean artists of the modernist era, beginning with the 19th-
century Realists and Impressionists and continuing through
major avant-garde movements of the 20th century. Clevelanders
have long known that we share a unique, world-class collection
of modern art. Now the rest of the world is discovering that too,
while at the same time learning more about our city and the
museum’s exciting expansion project. m=

5 www.clevelandart.org

semen ein From the Realm of the Condor

Americas

Acquisitions from the ancient Andes

In this Half of a Sleeved Tunic, created
by an artist or artists of the Wari
people (AD 600-1000), the sleeves
have been removed, perhaps in an-
tiquity (camelid-fiber weft and cot-
ton warp, tapestry weave, Purchase
from the J. H. Wade Fund 2005.53).
The vast majority of Wari tunics are
sleeveless. For reasons not yet under-
stood, sleeved tunics were the finest
made by the Wari; accordingly, the
frontal deity is often depicted wear-
ing a sleeved tunic.

The relief on which the drawing be- — Although the ancient American collection rests in storage while
aS aE CS awaiting construction of the new galleries, it has continued to
but from Tiwanaku, a contemporary ‘ B

Bolivian culture that sharedaratigion Loe quietly. Several new arrivals come from the southernmost
with Wari. It depicts the frontal deity Of the three pre-Columbian regions: the South American Andes,
along with a bird-headed attendant _land of the Inka and their many predecessors, who flourished
(from C. B. Donnan, Ceramics of An- between 3000 BC and AD 1532 in the region’s parched coastal
cient Peru, Los Angeles: Fowler Muse- deserts and thin-aired heights. Many Andean peoples prized

um of Cultural History, 1992, fig. 150). textiles and works of noble metals above all other media and,

as the new acquisitions reveal, invested them with imagery of
cosmic import.

Such is the case with half of a tapestry-woven tunic, a true
American masterpiece created by an artist or artists of the high-
land Wari empire. Its vertical columns contain 42 repeats of a
numinous bird-headed creature holding a staff at the front of its
body, a customary symbol of authority. (The repeats alternate
from left- to right-facing and are woven in four distinct color
combinations.) In other media, this winged creature appears as
the genuflecting attendant of the most powerful deity depicted
in the period’s art: a frontally posed divinity that appears in
both male and female manifestations, which, like its acolyte,
brandish staffs. It may be that the elite Wari official who wore
the tunic embodied the winged attendant or even the deity itself.

October 2007 6

The tunic is as fine as it is rare. Its sublime quality is mea-
sured by the extraordinarily high number of alpaca-fiber yarns
packed into each centimeter of the fabric (100 wefts rather than
the usual average of 50) and by the large number of figure re-
peats (the norm is 20 rather than 42). Another sign of quality is
the copious use of yarn dyed with indigo to a midnight blue so
dark it is almost black. All of these traits would have been recog-
nized instantly in antiquity as markers of the cloth’s extremely
high, probably royal, status. Just 11 other Wari tunics of similar
quality are known, more than half of which survive only as small
and tattered but exquisite fragments.

A gold and silver nose ornament, one of three purchased in
2005, was also elite regalia among the Moche, the New World’s
most inventive metallurgists. Between AD 100 and 300, as
Moche culture coalesced, wealthy lords established courts in the
fertile river valleys that cross Peru’s northern desert coast and
sponsored an unparalleled surge of creativity. The outpouring

Nose Ornament with Waterbirds became the greatest period in Andean metallurgy, literally a

and Serpents. Moche people (ab golden age during which the Moche exploited or invented all of

ot tadaetSs eee the significant metals and alloys used in the Andes, along with

Severance and Greta Millikin

Purchase Fund 2005.177 all of the coloring techniques, such as gilding. The museum’s
ornaments date to this exhilarating period.

The most elegant of the new ornaments, which were worn
by inserting their metal tines through the septum of the nose,
depicts four long-necked water birds of silver that perch like
predators on the bodies of two coiled golden serpents. The
imagery is not well understood but could be a summary in
miniature of the Moche cosmos, the serpents referring to the
terrestrial realm and the birds to both water and sky. Beyond
the imagery, the materials themselves likely had meaning that
could have extended to the cosmological. Indeed, some Andean
natives today say that the moon rains silver, and the sun rains
gold.

Other new Andean acquisitions that will be on display after
the gallery opens in 2011 include a beautiful set of Chimut gar-
ments woven of gossamer-fine white yarn, textiles of the Para-
cas and Moche peoples, a wonderful Moche sculptured ceramic
depicting a mastiff (dog-faced) bat, and a boldly decorated
Recuay dipper-shaped vessel. m=

7 www.clevelandart.org

Gregory M. Donley, S d |
Senior Writer/Designer J O Nn ey

From the J. Paul Getty Museum comes a new curator to oversee
three centuries of European painting and sculpture in Cleveland

At the beginning of July, the Cleveland Museum of Art wel-
comed Dr. Jon L. Seydl as the Paul J. and Edith Ingalls Vignos

Jr. Curator of European Painting and Sculpture, 1500-1800.

He comes to Cleveland from the J. Paul Getty Museum in Los
Angeles, where he served as Associate Curator of Paintings. A
specialist in 17th- and 18th-century Italian art, Seydl earned a
B.A. in art history from Yale University in 1990, then an M.A.
and Ph.D. from the University of Pennsylvania. His responsibili-
ties here will cover many of the museum’s important holdings of
European painting and sculpture, along with related exhibitions
and publications. First on his list will be the reinstallation and
interpretation of the collection in the new galleries of European
art that are scheduled to open in June 2008.

“The thing about the collection that immediately strikes you
is not that it’s huge or encyclopedic,” Seyd1 says. “It’s not all that
large. But it is astoundingly broad in its scope and of spectacular
quality. In most museums, you would look through all the works
and pick the one in four that are exhibitable, whereas here, the
hard thing is to take out the few that are not up to the highest
level.”

Unlike the collections of many larger museums, whose hold-
ings often are made up in large part of intact collections that
were sold or given to the institution, Cleveland’s collection has
been assembled almost exclusively by its professional staff. To
a museum professional, that approach shows. “I had always
heard that the Cleveland collection was hand-picked for only the
highest quality, and now that I’m here and methodically going
through everything in storage, I see that it is really true. What
amazes me is the level of consistency. Such a high proportion of
the collection consists of works one would hope to display in the
galleries.”

To prepare for the upcoming installation task, Seyd] has spent
the past few months sequestered in art storage areas examining
every work. While a general plan for the installation of the col-
lections under his purview has existed for a number of years, the
museum places many of the specifics in his hands. “The most
important thing in the installation,” he emphasizes, “is for the
gallery to look spectacular. It has to work as a room. I’m also
really interested in mixing media, and this is a terrific collection
for that. Most collections are much stronger in one area, either
paintings or sculpture, and weaker in the other, but that’s not
the case here. It’s very balanced. Every day we pull out another
ten or a dozen objects, and every day I have a new favorite. Today
it’s this Carracci,” he says, pointing to the 16th-century Italian
master’s dynamic portrait of a boy drinking wine.

October 2007 8

RIGHT AND BELOW LEFT: Jon Seydl

gets acquainted with his collection.

Modern museum installation entails more than advanta-
geously hanging the paintings and arranging the sculpture, so
Seydl is working with the museum design office and interpreta-
tion specialists in the education and curatorial divisions to de-
velop complementary materials that can help visitors interpret
and appreciate the works before them. “What I’ve discovered
with interpretation,” he says, “is you can’t force a particular
reading or narrative on a visitor. The most important thing
after making sure the work looks great is just to identify clearly
what it is. After that, the task is to provide different, open-
ended ways for people to learn more. It’s wonderful to match
our interpretive strategies to the particular kind of informa-
tion. A strategy that might work great for a social or cultural
interpretation might not work for explorations of technique,
for example.”

As it happens, the museum’s newest curator is in charge of
overseeing the installation of some of the very first galleries to
open as part of the renovation and expansion project, a respon-
sibility he relishes. “Installing the collection will certainly be
a challenge, but it’s nice to keep in mind that with a collection
like this it’s pretty hard to go wrong.” m=

9 www.clevelandart.org

Massoud Saidpour,
Director, Performing Arts,
Music, and Film

Like a Flowing River

The story of the art music of the Near East and Central Asia is
echoed in a musical mini-series

The Badakhshan Ensemble from
Tajikistan exemplifies one thread of
Central Asian musical tradition.

October 2007

The story of the music of the Near East and Central Asia is one of
hybridization and fluidity. Music grew along millennium-old Silk
Road routes that connected four main civilizations: China, India,
Persia, and the Byzantium. Over time, various musical influences
met, battled, and blended to form the art music of the region
known as maqam, a system of melodic modes or suites that chiefly
comprises Persian, Arabic, and Turkish musical cultures.

The Persian dynasty Sassanid (226—642 CE) played a central
role in the development of the region’s art music. At its peak, the
dynasty encompassed almost the entire Near East, Afghanistan,

large parts of Central Asia, and portions of Pakistan and North |
India. Court musicians held high official rank in the royal court !
of Khossro Parviz (579—628). One of them, Barbad, is believed |

to have devised the first known musical system in the region, in
which seven modal structures are subdivided into 30 tonalities
and 360 melodies. Barbad’s dastaan (from dast, or “hand,” in Per-
sian) signifies positioning of the hand on the musical instrument
and, by extension, a scale. Barbad’s system of composition became
a model of artistic achievement, surviving until the tenth century.
The collapse of the Sassanid Empire at the hand of the Arab
armies signaled a new era, and the Arab and Islamic influence
added new dimensions to the development of art music. Assimila-
tion of the music of the Sassanid courts helped to spur the evolu-

10

tion of music throughout the region. Though many of the notable
musicians of the era were of Persian descent and linked to the
Sassanid court musicians, musicians of this period are remarkably
diverse and made up of Arabs, Berbers, and even North Africans.

By the eighth century, the diverse contributions of Persian and
Arab composers had laid the foundation for the region’s hybrid
style of art music. The subsequent Abbasid era is considered the
golden age of Central Asian music, a time in which every cultured
man was required to know music in varied aspects—virtuosity,
aesthetic theory, ethical and therapeutic goals, mystical experi-
ence, and mathematical speculation. Ishaq, the outstanding musi-
cian of his time, is credited as the architect of the earliest theory
of melodic modes, asbi’ (“fingers”). Asbi’ structured the modes
according to the frets of the lute and the fingers corresponding to
them, echoing Barbad’s dastaan.

In the second half of the eighth century, Greek treatises were
translated into Arabic (the lingua franca of the Islamic world),
and scholars acquainted with Greek writings began to develop
new theories that expanded on Greek musical theory. The Arab
philosopher al-Kindi (from Aleppo) wrote more than 13 musical
treatises, including the earliest surviving one in Arabic. Two great
Persian philosophers, Farabi and Avicenna, dealt with such topics
as the theory of sound, intervals, genres and systems, composi-
tion, rhythm, and instruments, moving well beyond the Greeks’
ancient theory of music. The last important theorist to emerge
during the Abbasid period was the Persian Safi ad-Din Ardabili,
who codified the elements of the modal practice and is credited
with first using the term maqam in a musical modal context.

Between the 13th and 19th centuries, this sophisticated modal
system evolved into multiple local traditions with various pronun-
ciations: mugam in Azerbaijan, meqam in Kurdish, makam in As-
syrian and Turkish, shashmaqam (six maqam) in Uzbek and Tajik,

R SS KA

~

KAZAKHSTAN

KYRGYZSTAN ‘

TAJIKISTAN (CHINA

KASHMIR
IRAN

IRAQ :
KUWA PAKISTAN a ee
\

11 | www.clevelandart.org

Music of Armenia: the Shoghaken
Ensemble

CONCERT SERIES mugam in Uyghur (western China), and the same concept called
The Music of Central Asia and the dastgah in Persian music.

Near East concert series includes mas- Maqam (“place” in Arabic), like the earlier dastaan and

ter musicians from various countries —_ asbi’, refers to the placement of the fingers on a lute’s frets, thus
Gitiae ee onekaicaliellINuiire ion signifying a scale. Each maqam is built on a scale and carries
www.clevelandart.org/viva. ys ; ; 3

The series begins this Gctober with a tradition that defines its phrases, important notes, melodic
Spiritual Sounds of Central Asia, fea. development, and modulation. “A unifying principle,” explains
turing the legendary maqamsinger | ethnomusicologist Theodore Levin, “is the gradual ascent of the
Alim Qasimov from Azerbaijan, the melodic line through a series of discrete pitch areas to a melodic
seven-person Badakhshan Ensemble — cy] mination called awj (‘apogee’) . . . the moment of highest
rom Temesseah ania the Battier: melodic ascent and greatest emotional tension.”

vas from Kazakhstan, Kyrgyzstan, ; ; ; = ;
@araqalpaleein Wabekistan) and Ninety percent of Central Asians are of Turkic origin. Turkic
Kalmykia. herdsmen occupied one of the largest land-locked areas on the
planet, an area stretching from western China to the eastern
shores of the Caspian Sea and from southern Russia to northern
Afghanistan. The music of these nomadic Turkic people met

the maqam music of sedentary Persians in Iran. The conflu-
ence of these two cultural streams—one sedentary and Islamic/
Iranian, the other nomadic/animist and Turko/Mongol—flows
through Central Asian maqam found in Uzbekistan, Tajikistan,
Azerbaijan, and the Uygurs of western China. The Seljug Turks
(1037-1307), who created an empire that covered Mesopotamia,
Syria, Palestine, most of Iran, and parts of Central Asia, were
great patrons of Persian art and music, blending Persian musical
ideas with their own folk elements—characteristic tone colors,
polyphonic texture created by a drone, and techniques of playing
and singing—which in turn enriched Persian art music.

By the 17th century maqam was codified in the regions of
today’s Uzbekistan and Tajikistan. This hybrid became known
as shashmaqam, or six maqams, with each maqam set in one of
the classical Persian musical modes but possessing distinctive
| regional color. Later musical meetings took place between the
| Zarbang: Percussions of Iran and Arabs and the Turks when Alp-Arslan of the Saljuq dynasty de-
adalat feated the Byzantine Empire and several million Oguz tribesmen

settled in Anatolia. In the 14th century the Oguz tribal chief
Osman founded the Ottoman dynasty that would extend
Turkish power throughout the Arab world and parts of Europe.

Thus, maqam is a virtual musical repository of the people of
the Near East and Central Asia from ancient times to the pres-
ent, a kind of spiritual autobiography, while at the same time
remaining a vital improvisatory art form for today’s performers.
A living tradition is like the banks of a river that allow the cre-
ative force to flow. This tension between tradition and individual
talent is an inner process of hybridization: an ongoing, private,
heart-to-heart dialogue with one’s ancestors, with imperceptible
alterations along the way. m=

October 2007 12

Giving While Living

A longtime friend of the museum chooses to express her
affection through a charitable gift

Joan Mortimer has been a friend of the CMA
ever since she first moved to Cleveland in 1952,
and the relationship continues to grow. At
first, Joan’s time at the museum was limited to
walks around the lagoon, but then she began
exploring the museum from the inside. She
brought her children to the library where they
were helped with slides for projects. The assis-
tance given to her son Teddy, who at age eight
was working on a project about sailboats,
impressed her as a singular experi-
ence of interactive help—and one
welcome to a mother. Joan recalls
taking regular trips into New York
City as a child to visit the various
museums. Her experiences there
were more formal, leading her to
view museums as austere institu-
tions. The Cleveland Museum of Art
proved to be different—a welcom-
ing, user-friendly place. The time
she and her children spent at the
CMA, Joan says, gave her an “our
museum” feeling. As the relationship
developed, the Mortimers enjoyed May Show
exhibitions, Parade the Circle events, and the
Summer in the Courtyard series.

Over the years, Joan identified several
institutions that mattered most to her. The
question was not whether to support them,
but rather one of how much and when. Dr.
Mortimer is an assistant professor emeritus
in the Department of Psychiatry at the Case

Western Reserve University School of Medi-
cine, where for many years she served as an
assistant professor of psychology. Confident
that her retirement plans were secure, she was
ready to make lasting gifts. Late last year, Joan
learned of the limited IRA rollover provisions
in the Pension Protection Act of 2006. The law
allows persons age 70% or older to make tax-
free transfers of up to $100,000 from an IRA
to a public charity in 2006 and 2007. Joan’s
tax advisor recommended it, so
she decided to make a large con-
tribution to the CMA and other
groups in 2006. Her experience
was so positive that she has de-
cided to make gifts again before
the end of 2007.

Joan views this provision as a
mutually beneficial opportunity
to support the museum during
her lifetime without undesirable
tax effects. There is a need for
support, and this is a good way to
offer it. To Joan, this exciting op-
portunity allows hard-earned money to be put
to good use. In fact, she has been telling oth-
ers about the IRA provision and encouraging
them to speak to their financial advisors. Her
hope is that her friends will say, “If she can do
it, so can I.”

For more information please contact the
Office of Planned Giving at 216—707—2585 or
plannedgiving@clevelandart.org. m=

13 www.clevelandart.org

>“TOBER 2007

Education

Lecture Courses

A survey of the visual arts featuring
works from the Cleveland Museum
of Art’s collection, intended for
adult patrons.

Art Appreciation: An Introduction

to the History of Art

Wednesdays (began September 12)
through October 24, 10:00—11:30 at
Baldwin-Wallace East, Landmark
Building, corner of Richmond
Road and Science Park, Beachwood

Topics, in order, are Italian Renais-
sance, Northern Renaissance and
Baroque, Southern Baroque, and
18th-Century France. Individual
sessions $25, CMA members $20.

Object in Focus

Lectures

Wednesdays, October 24—Decem-
ber 19; 1:30

Join us for these special gallery talks
that provide a more intensive focus
on a single work of art or theme
found in the Impressionist and
Modern Masters from the Cleveland
Museum of Art exhibition. Meet in
the north lobby.

Topics (and instructor), in order,
are Matisse’s Interior with Etruscan
Vase (Dyane Hanslik), Moore/Rodin
(Shannon Masterson), The Land-
scape Transformed (Masterson), The
Rise of Leisure (Seema Rao), Time
and Space in Cubism (Michael Star-
insky), Odilon Redon’s “A Vase of
Flowers” (Alicia Garr), Paul
Gauguin’s “In the Waves” (Marjorie
Williams), Rene Magritte’s “The
Secret Life” (Kate Hoffmeyer).

Gallery Talks

Building for the Future
Sunday, October 21, 2:00. Marjorie
Williams

Modern Masters
Tuesday, October 30, 1:30. Meet in
the north lobby.

Edgar Degas (French, 1834-1917). Dancer

Looking at the Sole of Her Right Foot,
1896-97. Bronze. Hinman B. Hurlbut
Collection 2028.1947

14

A Day with the
Masters

Offered twice: Tuesday, October
23 and Saturday, November 3,
10:00—4:00

$135, CMA members $100; in-
cludes lunch and parking

Lectures and gallery talks welcome
home the museum’s distinguished
collection of Impressionist and
early modern masterworks after its
tour in Asia. Included is a private
viewing of Gauguin’s prints and
drawings with curator Heather
Lemonedes.

10:00—10:30 Registration and Coffee

10:30-11:30 The CMA Creates an
Art Collection. Joellen DeOreo

11:30-12:30 Gallery Tour: The
Impressionist Epoch and Post-
Impressionism. Pat Ashton

12:30—1:30 Lunch

1:30-2:30 Gallery Tour: Early Mod-
ern Sculpture and the Age of the
Avant-Gardes. Kate Hoffmeyer

2:30-4:00 Private Viewing and
Lecture: Gauguin’s Prints and
Drawings. Heather Lemonedes,
Associate Curator of Drawings

Lecture Series

Impressionist and Modern Masters
from the Cleveland Museum of Art
4 Tuesdays, October 30—November
20, 10:30—12:00

October 30, The Impressionist
Epoch; November 6, Post-Impres-
sionism; November 13, Rodin and
Early Modern Sculpture; November
20, The Age of the Avant-Gardes.
$70, CMA members $56; individual
session tickets $25, CMA members
$20.

Class Registration: 216-707-7350
There is a $10 late fee per order begin-
ning one week before the class starts.
Classes with insufficient registration
are canceled three days prior to class,
with enrollees notified and fully
refunded.

Art to Go

Taking reservations now for the
2007-08 school year.

CMA staff and trained volunteers
visit area classrooms, libraries,

and community centers with
genuine works of art in suitcase
presentations. Grouped accord-

ing to themes, these supervised
presentations allow students to

don gloves and handle works of

art sometimes thousands of years
old. Lively discussions augment
classroom curricula and revolve
around the objects’ historical and
cultural contexts. Works of art are
in various media, including ceram-
ics, textiles, prints, stone, wood, and
metal. Visit clevelandart.org to view
a list of presentations and registra-
tion information soon, as Art to
Go fills up for the year very quickly.
First come, first served! No cost for
Cleveland Metropolitan Schools.
Made possible with a generous
grant from Dominion.

Talks to Go

Building for the Future

Join us as the Cleveland Museum
of Art builds for the future. Enjoy
free talks by our volunteer docents
at your location. The presentation
introduces the museum’s $258 mil-
lion renovation and expansion, and
gives a preview of what is coming
as the CMA expands its spaces for
collections as well as educational
and public programs. To request

a speaker, call Sarah Dagy at 216-
707-2458 (requested dates subject
to volunteer availability).

Art and Fiction
Book Club

The Arcanum
3 Wednesdays, October 10-24,
1:30-3:00

This structured look at art history
through Janet Gleeson’s book is

a collaboration of the museum’s
library and education departments.
Intended for adult patrons. $44,
CMA members $35.

School Tours for
Modern Masters
October 21, 2007 to January 6, 2008

The Cleveland Museum’s own
collection is represented in this
magnificent exhibition, which high-
lights the greatest European artists
of the modernist movement.

Docent-guided tours are offered
Tuesday through Friday from
10:00—2:00. Self-guided classes are
welcome after noon. These free
tours are limited to 50 students per
hour and are filled on a first-come,
first-served basis.

The registration form can be found
on the museum’s website www.
clevelandart.org under Education.
Direct inquiries to abarfoot@
clevelandart.org or 216-707-2459.

Fall Art Classes

6 Saturdays, October 13—November
17. Most classes are offered both
morning and afternoon: 10:00—
11:30 or 1:00-2:30.

Enroll your children for studio
classes at the Cleveland Museum of
Art. Each class introduces students
to the CMA permanent collection
and then allows them to develop
their own creativity. Classes run for
six weeks and are taught by artists
and art educators.

Six-week session $72, CMA
Family-level members $60; Parent
and Child class $85, CMA members
$72. To register and/or become a
Family member and receive dis-
counts, call the Ticket Center. All
registrations after October 6 will

be subject to a $10 late charge per
order.

COMMUNITY ARTS PARTNER
Medical Mutual of Ohio

Fall for the Circle F

Educators
Academy

The Teacher Resource Center has a
new name: The Educators Academy.
The focus of the Educators Acad-
emy is to integrate museum pro-
grams into school curricula. We
look forward to this new challenge
as it affords an opportunity to
work closely with teachers who will
revive and replenish the Advisory
Board Council, write curriculum
and lesson plans that integrate the
State Academic Standards, and
develop creative programming for
the academy.

Modern Masters exhibition teacher
workshops are offered on four
Wednesdays, October 24, No-
vember 7, 14, and 28, 4:30-6:30,
and two all-day Saturday sessions,
December 1 and 8, 10:00—4:30.
Please join us for these workshops
as we explore 100 of the museum’s
most acclaimed European paint-
ings through a variety of two- and
three-dimensional studio projects,
art historical informational lec-
tures, and workshops that focus
on the classroom. The entire series
of workshops can be taken for one
graduate credit hour. For more
information, including a listing

of specific workshops, go to
clevelandart.org/educatn/trc-news/

Community
Engagement

Cafe Bellas Artes

A place where members of the
Latino community can get together
each month to discuss art, culture,
music, poetry, literature, and much
more in Spanish. Please reserve

the second Friday of each month
and share an evening with us at the
Cleveland Museum of Art from
6:30 to 8:30. Visit www.clevelandart.
org for the most current informa-
tion each month.

Art Crew

The Art Crew gives the CMA a vital
community presence with a troupe
of life-sized costumes based on ob-
jects in the museum collection. Call
216-707-2671 for more informa-
tion or to schedule an appearance.
$50 non-refundable booking fee
and $25 per hour with a two-hour
minimum. Upcoming: Starbucks in
Willoughby, 36505 Euclid Avenue:
Saturday, October 20, 10:00—11:30.

Nia Coffee House

Every first and third Tuesday, 6:00-
8:30, at the Coventry Village
Library, 1925 Coventry Road,
Cleveland Heights, 44118. Live jazz
and poetry. Parental guidance sug-
gested. 216-707-2486.

Community Arts
Around Town

Throughout University Circle
during the month of October, see
scarecrows created by Community
Arts artists for UCI Fall for the
Circle. More scarecrows on view
all month at Stan Hywet Hall and
Gardens; www.stanhywet.org. At

Cleveland Metroparks Zoo’s Boo

at the Zoo, 5:30-8:30, see puppet
displays, Thu/18 and 25 and Sun/21
and 28, and watch costumed danc-
ers and puppets perform Fri/19
and 26 and Sat/20 and 27. For Boo
at the Zoo tickets and information
visit clemetzoo.com.

Lantern Making
Workshops

In November Community Arts Ar-
tistic Director Robin VanLear and
her staff lead a series of workshops
on batik lanterns. Attend as many
sessions as needed. Most lanterns
require three or more sessions.
November 2-18, Fridays 6:00-8:30
and Sundays 2:00-4:30. Individuals
$50; families $150 up to 4 people,
$25 each additional person; one
lantern per person; $25 each ad-

ditional lantern. Call 216—707—2483

for more information.

www.clevelandart.org

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Performance

VIVA! & Gala

Around Town

“Once again the VIVA! & Gala
Around Town is expanding our
musical horizons.” -WCPN Radio

Visit clevelandart.org/viva for full

series details, including directions,
parking information, and sugges-

tions for dining in the area.

For tickets, call 1-888—CMA-0033
or visit clevelandart.org/tickets.

Programs subject to change.

Berlin Philharmonic Wind Quintet
Wednesday, October 3, 7:30
Trinity Cathedral

“A concert not to be forgotten.”
—The Washington Post

The venerable players of the es-
teemed Berlin Philharmonic wind
section perform a fascinating and
eclectic program including works
by Barber, Ibert, and Milhaud. The
Manchester Evening News calls the
quintet “arguably the best ensemble
of its kind in the world.” $30, CMA
members $28.

October 2007

The Spiritual Sounds of Central Asia:
Nomads, Mystics, and Troubadours
Sunday, October 21, 7:30
Cleveland Museum of Natural
History

“An evening of fascinating revela-
tions.” —The Times (U.K.)

Featuring gifted musicians, this
exhilarating musical program is
designed to make Central Asian
music accessible and meaningful
to American audiences. Gorgeous
video clips introduce each culture.
Presented with supertitles. $35,
CMA members $33.

Mystics, Nomads, and Troubadours
in Central Asian Music

Sunday, October 21, 6:00
Cleveland Museum of Natural
History

Join us for drinks and this free lec-
ture preceding the concert. The rich
diversity of Central Asian music
and expressive culture is brought to
life in this lecture-demonstration
by Professor Theodore Levin, fea-
turing performers from Azerbaijan,
Kazakhstan, Qaraqalpakstan, and
Tajikistan. Free with your concert
ticket.

16

Spiritual Sounds of Central Asia

The first events in this season’s
special mini-series focused on Cen-
tral Asia and the Near East open this
month. Offering a multifaceted and

Artistic Patronage of the
Turko-Mongol Nomads: Timurid
Monuments of Iran and Central Asia
Sunday, October 28, 12:30, Recital
Hall

The geometric sophistication and
ethereal beauty of architectural
gems in Central Asia and the Near
East are the subject of this talk by
Dr. Tehnyat Majeed. Presented in
conjunction with VIVA! & Gala
Around Town’s special mini-series,
Music of Central Asia and the Near
East. Free.

Coming next month:

Called “astonishing and entrancing”
by Billboard, SO Percussion brings
its refreshingly original and daring
music to the Cleveland Museum of
Natural History on Friday, Novem-
ber 9; 7230:

in-depth view into the region’s cul-
ture, programs include a preconcert
lecture, an architectural talk, and
special related films (see “Two Music
Films” on page 17).

ed, eee

Film

Still Lives: The Films
of Pedro Costa

“Costa is genuinely great.” —Jacques
Rivette

Portuguese filmmaker Pedro Costa
(b. 1959) is unknown in America,
but that is quickly changing thanks
to this touring retrospective of his
six features and various shorts,
building on the wide acclaim for
his latest movie, Colossal Youth.
Costa’s poetic, minimalist movies—
often hybrids of documentary and
fiction—have been likened to the
ascetic masterworks of the great
Robert Bresson. Colossal Youth is
the third part of a trilogy filmed in
Fontainhas, a Lisbon slum popu-
lated largely by poor immigrants
from Cape Verde. Working in close
collaboration with the residents of
this crumbling ghetto, Costa, in this
film and the two earlier ones
(Ossos, In Vanda’s Room), has
captured the lives of downtrod-
den people in a sensitive, non-
exploitative way that exposes the
condescension, heavy-handedness,
and sentimentality of so many
social-realist films. Admission to
each program is $8, CMA members
$6, seniors 65 & over $5, students
$4, or one Panorama voucher.
Panorama vouchers, in books of
ten, are at the museum Ticket Cen-
ter for $55, members $45. Special
thanks to Ricardo Matos Cabo.

Ossos (Bones)
Sunday, October 7, 1:30
Friday, October 12, 7:00

Directed by Pedro Costa, with
Vanda Duarte. This bleak, laconic
drama is set in a shantytown on
the outskirts of Lisbon, where a
newborn baby proves an unwanted
burden to its teenage mother and a
prop and a commodity to its beggar
father. Cleveland premiere. (Portu-
gal/France/Denmark, 1997, color,
subtitles, 35mm, 94 min.) Preceded
at showtime by Costa’s 16-min.
Tarrafal (2007), his newest film.

TOP: Colossal Youth

RIGHT: Half Moon

The Blood
Wednesday, October 10, 7:00

Directed by Pedro Costa. When
their father disappears, two Por-
tuguese brothers are visited by
their mean uncle and two violent
debt collectors. Costa’s striking
debut film is “at once a fairy tale,
film noir, love story, and murder
mystery” (Cinematheque Ontario
Programme Guide). Cleveland
premiere. (Portugal, 1989, color,
subtitles, 35mm, 95 min.) Preceded
at 7:00 by Costa’s 13-minute Ne
Change Rien (2005).

In Vanda’s Room
Sunday, October 14, 1:30

Directed by Pedro Costa. This ex-
emplary work of humanist cinema
focuses on Vanda Duarte, a real-
life drug addict living in a hellish
Lisbon slum that is being demol-
ished around her. Shot on digital
video, this unsentimental portrait
dispenses with most drug-movie
clichés, capturing a proud character
without self-pity. Duarte was first
seen in Costa’s previous film Ossos.
Cleveland premiere. (Portugal/
Germany/Italy/Switzerland, 2000,
color, subtitles, 35mm, 178 min.)

Casa de Lava (Down to Earth)
Wednesday, October 17, 7:00

Directed by Pedro Costa, with Inés
de Medeiros, Isaach De Bankolé,
and Edith Scob. A Portuguese nurse
accompanies a comatose immigrant
worker back to his Cape Verdean
hometown, where she struggles to
piece together the details of his life
while navigating a strange, mysteri-
ous culture steeped in superstition.
Cleveland premiere. (Portugal/
France/Germany, 1995, color, sub-
titles, 35mm, 110 min.)

—_

Colossal Youth
Saturday, October 20, 1:30
Sunday, October 21, 1:30

Directed by Pedro Costa, with
Vanda Duarte. One of the most
rapturously received films of the
past year is a portrait of an elderly
Cape Verdean worker who wanders
around his old Lisbon slum neigh-
borhood—as well as a new housing
project where he has been moved—
visiting other have-nots whom he
calls his “children.” The exquisite
cinematography evokes Vermeer.
Cleveland premiere. (France/
Portugal/Switzerland, 2006, color,
subtitles, 35mm, 155 min.)

Where Lies Your Hidden Smile?
Wednesday, October 24, 6:45

Directed by Pedro Costa and
Thierry Lounas. Both a love story
and a great movie about movie-
making, this portrait of the hus-
band-and-wife filmmaking team
of Jean-Marie Straub and Daniéle
Huillet captures the pair as they
painstakingly re-edit their 1999
film Sicilia! Cleveland premiere.
(France/Portugal, 2001, b&w/
color, subtitles, 35mm, 104 min.)
Followed by Costa’s 18-minute 6
Bagatelles (2001), six unused scenes
from Where Lies Your Hidden Smile?

Two Music Films

Complementing the VIVA! & Gala
concert series, these two “world
music” films illuminate contempo-
rary aspects of artistic expression
from Central Asia, the Near East,
and beyond. Admission to each
film is $8, CMA members $6, se-
niors 65 & over $5, students $4, or
one Panorama voucher. Panorama
vouchers, in books of ten, can be
purchased at the museum Ticket
Center for $55, members $45.

Sound of the Soul
Wednesday, October 3, 7:00
Friday, October 5, 7:00

Directed by Stephen Olsson. This
portrait of Morocco’s Fez Festival
of World Sacred Music—in which
Muslims, Christians, and Jews per-
form at historic sites—reverberates
with understanding, unity, and
hope. Cleveland premiere. (USA,
2005, color, subtitles, Beta SP, 70
min.)

Half Moon
Friday, October 26, 7:00
Sunday, October 28, 1:30

Directed by Bahman Ghobadi.
After the fall of Saddam Hussein,

a legendary, elderly Kurdish musi-
cian living in Iran decides that he
will perform in Iraq for the first
time in 35 years. He hires a minibus
and embarks on a treacherous road
trip, picking up his ten sons and an
outlawed woman singer along the
way. Cleveland premiere. (Austria/
France/Iran/Iraq, 2006, color, sub-
titles, 35mm, 114 min.)

www.clevelandart.org

OCTOBER 2007

OCTOBER 2007

News

Expansion Project
Timeline

October 2007
Expanded parking facility opens.

Summer/Fall 2007

1916 building renovation done;
after heating/ventilation acclimati-
zation, art reinstallation begins.

Winter 2008
East wing construction complete
and acclimatization begins.

Summer 2008

Galleries begin reopening in the
1916 building. Abatement/
demolition of 1958 and 1983
buildings begins.

Fall 2008 2011
East wing special exhibition space West wing galleries open. New
opens. Gartner Auditorium reopens. courtyard opens.

Spring 2009
New east wing permanent
collection galleries open.

Textile Art Alliance

RESERVE YOUR TICKET NOW
4th Annual Wearable Art Fashion
Show & Boutique

Sunday, October 21, 11:00—5:00

LaCentre, 25777 Detroit Road,
Westlake, just off I-90 at Columbia
Road

11:00 Boutique preview shopping
1:00 Fashion show and lunch

2:30-5:00 Boutique open to the
public; $5 at the door

Tickets: Preview boutique, fashion
show, lunch, runway sales: $40

For advance reservations contact
Leslie at 440-452-4521, Ickranz@
yahoo.com. Reservation deadline is
Monday, October 15.

Feast your eyes on fabulous run-
way fashions while enjoying lunch.
Peruse the boutique featuring work
by more than 50 artists for that
unique clothing or accessory to
complete your fashion statement.
For more information visit www.
clevelandart.org/taa. This fund-
raiser for the CMA is sponsored by
the Textile Art Alliance.

Visit/Contact Info

Museum Hours

Tuesdays, Thursdays, Saturdays,
Sundays 10:00-5:00
Wednesdays, Fridays
10:00-9:00

Closed Mondays

Administrative Telephones

216-421-7340

1-888-269-7829 :
Website :
www.clevelandart.org

Ticket Center

216-421-7350 or
1-888-—CMA-—0033

Fax 216-707-6659
Non-refundable service fees apply
for phone and internet orders.

Membership
216-707-2268
membership@clevelandart.org

Museum Store
216-707-2333
Special Events
216-707-2665

Ingalls Library Hours
Tuesday-—Friday 10:00-5:00
Wednesday to 9:00
Reference desk: 216-707-2530

Parking Garage Closed to October
The garage is closed until mid-
October. Additional parking is
available nearby in University
Circle. Fees apply at all locations.

Ohio Arts Council

\A STATE AGENCY
THAT SUPPORTS PUBLIC
PROGRAMS IN THE ARTS

Magazine Staff

Editing: Laurence Channing,
Gregory M. Donley, Kathleen Mills
Design: Thomas H. Barnard Ill,
Gregory M. Donley

Photography: Howard T. Agriesti,
David Brichford, Gregory M. Donley,
Gary Kirchenbauer

Digital scanning: David Brichford
Production: Charles Szabla

Questions? Comments?
Magazine:
magazine@clevelandart.org
General museum:
info@clevelandart.org

October 2007

§ Admission fee

SUN

7

Film 1:30 Ossos
(Bones) §

R Reservation required

MON

Clay

a =
mation class

T Exhibition ticket required

TUE

2

NIA Coffee House
7:00 Coventry Village
Library

14

Film 1:30 In Vanda’s
Room §

15

21

Exhibition Opens
Modern Masters $

Film 1:30 Colossal
Youth §

Gallery Talk 2:00
Building for the Future.
Marjorie Williams

Around Town Lecture
6:00 Natural History
Museum. Mystics, No-
mads, and Troubadours
in Central Asian Music.
Free w/concert ticket

Community Arts Event
5:30-8:30 Boo at the
Zoo. See Thu/18
Around Town Perfor-
mance 7:30 Cleveland
Museum of Natural
History. Spiritual
Sounds of Central Asia

22

28

Lecture 12:30 Artistic
Timurid Monuments of
Iran and Central Asia.
Tehnyat Majeed

Film 1:30 Half Moon $

Community Arts Event
5:30-8:30 Boo at the
Zoo. See Thu/18

29

16

NIA Coffee House
7:00 Coventry Village
Library

23

A Day with the Masters
10:00-4:00 R $

30

Lecture 10:30 Modern
Masters: The Impres-
sionist Epoch R §
Gallery Talk 1:30
Modern Masters

WED THU

3 4

Lecture 10:00 at B-W
East. Italian Renais-
sance R

Film 7:00 Sound of the
Soul

Around Town
Performance 7:30
Trinity Cathedral. Berlin
Philharmonic Wind
Quintet $

10 11

Lecture 10:00 at B-W
East. Northern Renais-
sance and Baroque R §

Art and Fiction Book
Club begins 1:30 The
Arcanum by Janet
Gleeson R §

Film 7:00 The Blood §

17 18

Lecture 10:00 at B-W

Film 7:00 Casa de Lava
(Down to Earth) §

FRI

Film 7:00 Sound of the
Soul

SAT

6

12

Film 7:00 Ossos
(Bones) $

13

Museum Art Classes
begin R

Community Arts Event
East. Southern Baroque —_ 5:30-8:30 at Cleveland
R$ Metroparks Zoo. Pup-
pets on display as part
of Boo at the Zoo.

24 25

Lecture 10:00 at B-W.
East. 18th-Century

Teacher Workshop
430R§

Film 6:45 Where Lies
Your Hidden Smile? §

31

Object in Focus Lecture
1:30 Moore/Rodin §

Half Moon

Community Arts Event
5:30-8:30 Boo at the
France R § Zoo. See Thu/18

Community Arts Event
5:30-8:30, at Cleveland
Metroparks Zoo. Danc-
ers and Puppets at Boo
at the Zoo

Members Meeting
6:00 State of the
Museum and Modern
Masters opening

20

Art Crew 10:00-11:30 at
Starbucks, Willoughby

Film 1:30 Colossal
Youth §

Community Arts Event
5:30-8:30 Boo at the
Zoo. See Fri/19

26

Community Arts Event
5:30-8:30 Boo at the
Zoo. See Fri/19

Film 7:00 Half Moon §

27

Community Arts Event
5:30-8:30 Boo at the
Zoo. See Fri/19

THE CLEVELAND Periodicals

ostage paid at
MUSEUM OF ART Cleveland, Ohio

In University Circle
11150 East Boulevard
Cleveland, Ohio 44106-1797

Dated Material
Do Not Delay

Exhibitions and Selected Loans

At the Museum

Impressionist and Modern Masters
from the Cleveland Museum of Art
October 21, 2007—January 13,

2008. The acclaimed international
touring exhibition drawn from the
CMA’s collection of Impressionist
and modern European art makes a
stop in Cleveland. Seen by well over
half a million people in Beijing,
Tokyo, Seoul, and Vancouver, the
exhibition is expanded in Cleveland
by the addition of masterworks
shown only at this venue.

Building for the Future

Through summer 2008. Learn all
about the museum’s renovation and
expansion project through photo-
graphs, drawings, floor plans, video,
text, and a large-scale model of the
museum complex as it will look on
completion of the project in 2011.

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Shiva as Brahma

Through December. The museum’s
recent acquisition of one of the Ne
most important South Indian r e X 2 if N Be,
sculptures in the United States is MAN =a SS i . + \. EN
celebrated with a small exhibition ye \ sf *AAA\ oN ~~
that features the carved stone ; ae Eee ? ee

GOING UP: Escalators in the new

figure along with related works
ae ee: Seen | ee World Tour east wing will be in use by this time

next year.
J. Paul Getty Museum
October 30, 2007—January 20, 2008,
Los Angeles
Medieval Treasures from the
Cleveland Museum of Art
Shiva as Brahma (The Creator), late COVER (DETAIL):
go0s/early 11th century. South Amedeo Modigliani (Italian, 1884-
India, Chola dynasty. Granite. 1920). Portrait of a Woman, about
Leonard C. Hanna Jr. Fund; this work 1917-18. Oil on canvas. Gift of the
was accepted in honor of Stanislaw Hanna Fund 1951.358

Czuma in recognition of his long
service to the CMA 2007.155